The body of work titled The Vanity of Small Differences; derives from the Freudian term Narcissism of Small Differences. Meaning, “we dislike no one quite so much as our nearest neighbour.” Perry has used this title to outline that people in similar classes of society dislike each other more, due to the small differences in their lifestyles. He is suggesting with the title that we always want what the people around us have most. His six large tapestries are 200 x 400cm and are mechanically woven in wool, cotton, acrylic, polyester and silk. Perry allows two works per social class in which he is exploring, the first delving entirely into the tastes and life of character Tim Rakewell, and the second showing the changeover of classes and taste
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Playing with the idea that modern British life and “the drama of social mobility” is important enough to be depicted upon grand tapestries.
Grayson Perry’s The Vanity of Small Differences was made five years ago. Despite the change in time it still remains successful in its approach to addressing the different types of taste that occur in different social classes, and how these two correlate. As a collection of works they tell a tale of British identity allowing
people of this culture to relate to through their own personal taste and sense of belonging to a class, this helped by the use of easily recognisable objects and brands that allow the viewer to connect with the works. The six final tapestries appear to have been made with a postmodern view, as Perry is celebrating the cheap, tacky, old and new all sewn into a traditional tapestry, by depicting and combining scenes of all classes. The colours he has used in his pieces are bright and garish, making these scenes stand out in a gallery space. Perry states that “no taste is bad taste” and explains that it is your peer group that surround you who define what is socially accepted as good or bad taste. He expresses the idea that there cannot be any strict rules or guidelines for good taste, and that anybody searching for this universal good taste will be searching in …show more content…
However, as these were not handmade Morris may argue that they don’t hold the same symbolic value of luxury that Perry was hoping for, for each of the six tapestries were created with the same intentions as their historical descendants, but Morris may have argued that if the physical making of the work was not by hand, as they used to be, then can it still hold the air of upper class values. Le Corbusier may have disagreed with Morris here on the basis that he is for industrial design. He states, “It is to industry that we owe this reversal in the state of affairs.” Le Corbusier explaining how the use of machinery now allows for a more efficient way of creating well made,
Playing with the idea that modern British life and “the drama of social mobility” is important enough to be depicted upon grand tapestries.
Grayson Perry’s The Vanity of Small Differences was made five years ago. Despite the change in time it still remains successful in its approach to addressing the different types of taste that occur in different social classes, and how these two correlate. As a collection of works they tell a tale of British identity allowing
people of this culture to relate to through their own personal taste and sense of belonging to a class, this helped by the use of easily recognisable objects and brands that allow the viewer to connect with the works. The six final tapestries appear to have been made with a postmodern view, as Perry is celebrating the cheap, tacky, old and new all sewn into a traditional tapestry, by depicting and combining scenes of all classes. The colours he has used in his pieces are bright and garish, making these scenes stand out in a gallery space. Perry states that “no taste is bad taste” and explains that it is your peer group that surround you who define what is socially accepted as good or bad taste. He expresses the idea that there cannot be any strict rules or guidelines for good taste, and that anybody searching for this universal good taste will be searching in …show more content…
However, as these were not handmade Morris may argue that they don’t hold the same symbolic value of luxury that Perry was hoping for, for each of the six tapestries were created with the same intentions as their historical descendants, but Morris may have argued that if the physical making of the work was not by hand, as they used to be, then can it still hold the air of upper class values. Le Corbusier may have disagreed with Morris here on the basis that he is for industrial design. He states, “It is to industry that we owe this reversal in the state of affairs.” Le Corbusier explaining how the use of machinery now allows for a more efficient way of creating well made,